Dimensione della paura

Classy mid 60s thriller with plenty of meat in the burger and almost no cheese. "Return" goes to all the familiar places but never lingers long on cliches. I remember the theater cards in the lobby saying "Nobody enters the theater after Fabienne enters her bath". It's twisty and pushes the plausibility envelope some, but the ride is good enough to cover the bumps.

This is one of the last films to use lobby hype, and it didn't need any hype. Ingrid Thulin shines in a truly convincing way, what a talent. Samantha Eggar simmers with heat and hate. Schell and Lom both set their person bars a little higher in this one..

Bottom Line: Just Find It And Watch It.

This film has suffered a strange fate. It used to be shown on tv all the time and was inevitably given two stars, when it is in fact a four-star movie. It is inconceivable that there is not plot summary here, so here goes:

Michelle, a currently single middle-aged medical doctor with a young daughter [already daring for the time], encounters the young fortune hunter Stanislaus in a casual meeting and makes him her boy toy. Michelle happens to be Jewish in Nazi-occupied Paris. When the Nazis do their thing, gentile Stan marries her in a moment of bravura that belies his true character. Nevertheless, they carry Michelle off to concentration camp. Several years after the war ends, she turns up and reunites with Charles, her former colleague at the hospital. She is so worn and haggard that she is hardly recognizable. Charles performs some plastic surgery, then she runs into Stan, who has taken up with Michelle's beautiful and still somewhat girlish daughter Gabby. Stan sees the striking resemblance and asks "Mme. Robert" if she will impersonate his supposedly late wife because French law won't give Gabby access to her mother's assets without a dead or alive body. Michelle agrees because she thinks it might be fun, but soon reveals herself as the real Michelle. Stan pretends to be reconciled with Michelle but plots with Gabby against her life.

This is the longest summary I have written because it is a very convoluted but masterfully managed plot. This is a much more convincing movie about mistaken/not mistaken identity than Hitchcock's "Vertigo." It is a three-character movie and all three are magnificent. I have left enough out of the summary to keep you in considerable suspense.

Once upon a time, before the giallos and the slasher films took over, there was an undercurrent of clever thrillers ... where you knew who had done it, but the question was could they get away with it? The earliest one I can remember is The Unsuspected with Claude Raines as a DJ with a mission ... In the '60's we had director William Castle's twisted thrillers (Homicidal is my favorite) and Bette Davis as Baby Jane and Charlotte ... then along came Return from the Ashes, at about the same time as Bunny Lake Is Missing. Ladies and gentlemen, RftA is a stunning thriller which will keep you enthralled from the expositionary opening to the wonderfully complex plot developments. Why is this not available to viewers today? This is a movie I would like to show friends. Hard to believe it was 40 + years ago I sat in a darkened theater enraptured by the clever plot with more twists and turns than you could believe. If you see this movie in any listings, record it! Ingrid Thulin, Samantha Eggar and Maximilian Schell pull out all the stops but they make you BELIEVE the lurid goings-on. Too bad movie makers can't look at these old classics and learn how to pace and plot a good thriller.

Certain films travel just below the radar. "Return from the Ashes" is such a film. The ones who've seen it never forget it but somehow it's nowhere to be found. Never on video and so far not on DVD. I'm not going to tell you about the devilish plot because that's most of the pleasure of seeing it for the first time. Just let me wet your appetite by saying that Maximilian Schell plays a young amoral polish guy who seduces a French, older, wealthy widow, played for real by a great Ingrid Thulin. The action takes place at the dawn of the German occupation. She is Jewish he is not. When Schell asks her to marry him, she laughs it off as a surprisingly conventional request but he means it saying "At this time is not convention but defiance" So he marries the older Jewish woman...that's all I'm going to tell you about the story. Samantha Eggar, beautiful and skinny gives a powerful performance of seductive evilness. She is a stand out of major proportions. The ending seems a bit of a commercial concession but it doesn't spoil the cleverly tailored plot. If you see it announced on late night TV, set up your VCR or whatever contraption at your disposal.

In a flash of incredible foresight, I recorded this gem as I watched it for the first time (maybe like 2 years ago...) The signature music has a waltzy, hypnotic cadence that completely draws you in, & a fascinating story unfolds in "post-war Paris", shot in appropriately atmospheric black & white. >From the very opening train scene, I was riveted. This one is on my shelf of films that I watch over & over again. Maximilian Schell is brilliantly handsome/wicked, as Stanislaus. I'd never even heard of Ingrid Thulin before -- someone on here mentioned her character, Michele, as "middle-aged" - that's not the impression I got. Michele is a jaw-droppingly gorgeous, dazzling blonde Swede{?}, who was married to a much older man, with a daughter. So she appears to be a young widow with a step-daughter in her late teens. On top of her late husband's sizable estate, Michele is also an X-ray technician. Ingrid Thulin is wonderful as Michele, combining just the right balance of high intellect yet vulnerability - very believable central character. Herbert Lom & Samantha Eggar also give stand-out performances.

I'm completely amazed that this incredible film has never "made it to video".... I'd really love to know who/how/why these decisions are made - seems like some really great work is allowed to sink without a trace.